"It is true that in the few pictures he painted, one can find the entire scale of colours; but

the use of lemon yellow, pale blue and light grey together is a characteristic of him as the
harmony of black, white, grey, and pink is of Velázquez." - Vincent van Gogh

The few, delicate pieces of Johannes Vermeer further embody the fact that this

artist is an artist of incomprehensible nature. From what society permits, every known

fact of Vermeer is through the means of legal documentation. Subsequently, in recent

years, historians have deduced a relatively clear illustration of his life and artistic caliber.

The success of Vermeer's works renders through his unusual sensitivity through the

means of light and color. These perceptive notions happen to bestow a poetic quality to

many of his paintings. Every single piece of Vermeer gives the viewer a sense of

curiosity, allowing one to want more of the artist himself.

On October of 1632, Johannes Vermeer was born and raised in the minute city of

Delft, which back in the day, was considered a highly prosperous and active city. He was

the second child and only son of Reynier Jansz. There is a repetitive tradition that

Vermeer was baptized in Delft on October 31, 1632. Vermeer's father, Reynier Jansz was

an innkeeper and a member of Saint Luke's Guild. It is a known fact, from a document

dated in 1640, that Reynier had relations with artists such as Balthasar van der Ast (who

was already quite distinquished for his paintings of flowers), Peter Steenwyck, and Pieter

Groenewegen. It may be that these few painters gave the young Vermeer his first artistic

attainments, but nothing is known about his training as a painter. Vermeer married

Catharina Bolnes on April 20, 1653. Catharina gave birth to fifteen children. Four out of

the fifteen died at a very young age, but nevertheless, Vermeer had a house swarming of

little ones.

Even with the so-called relations that Vermeer may have had through his father's
connections, his artistic caliber is still uncertain. Along with every other Dutch painter

during that period, Vermeer probably had to undergo an extensive six year period of legit

training. The young apprentice signed on with the Saint Luke's Guild and was

comprehensively instructed in the art and craft of painting.

Though there is uncertainty of how he actually attained his skills, art historians

and viewers all over the world obviously admire Johannes Vermeer's technique. Vincent

van Gogh characterized Vermeer's color scheme as "lemon yellow, pale blue and light

grey together." This statement is quite prominent and is a prime example in one of

Vermeer's finest, Girl with a Pearl Earring. Vermeer predominantly painted young

women in a story-like situation. These women all happen to luminate out of the paintings

themselves. Strong colors are seemingly confined to closed areas. Many of Vermeer's

works depict almost a narrative-like situation based on a series of topics; whether the

story be confined to religious beliefs or based on the "new" sciences. For instance, in

Woman Weighing Pearls, the theme of vanity is somewhat depicted. Behind the woman,

the painting of the Day of Judgement takes a duty on the consideration of the woman

weighing pearls, almost like a "painting within a painting." Christ will analyze the souls

of the Blessed and the Damned, just as the woman weighs pearls. Light and color also

play a major role in introducing these paintings. Much technique and style are clearly

mastered in order to achieve this affect.

Art historians recognize Vermeer's death date in the year of 1675. Though there is

factual information on Johannes Vermeer, he is still considered somewhat mystifiying.

Vermeer only painted a lumpsum of thirty to thirty-five paintings, but all are cherished

amongst society. It is only since the mid-nineteenth century has Vermeer been
condemned with actual praise. It is no accident that this curiosity of Vermeer went hand

and hand with the Impressionist era. For the Impressionists, such as Claude Monet, color

was a function of the response to light. This statement clearly applies to Johannes

Vermeer, especially observing the same light source in a variety of his paintings.

Admiration of Vermeer is evident and ever-lasting. Vermeer will never be forgotten, even

having his work forced into isolation by society.